. Since I live alone, he would call me at least twice a
week to check on me and see if I was faring well. If I wasn’t, he would al-
ways be there to assist me in whatever way he could. I am the godfather
of his youngest daughter, Kimberly. For this I am very grateful. She is a
joy to my heart. I miss Don dearly.
I met violinist and composer William Henderson through George
Butler, who used to be an executiveproducer for Blue Note Records and
then later for Columbia Records. Bill was the conductor of the Los An-
geles Modern String Orchestra, which consisted of a
. Liner notes
to Ella Fitzgerald: The 75th Birthday Celebration. The Original Decca
Recordings. Decca GRD-2–619, 1993.
Mosaic Records. Liner notes to The Complete Verve/Clef Charlie Ventura and
Flip Phillips Studio Sessions. 6-CD set. Mosaic Records MD6 182, 1999.
448 | Selected Bibliography
Schaap, Phil. Liner notes to Bird: The Complete Charlie Parker on Verve. Verve
Records V 837 141–2. Copyright 1998 PolyGram Records.
Verve Records. Liner notes to The Complete Billie Holiday on Verve,
1945–1959. Originally produced by Norman Granz. Executiveproducers
Princeton University Press, 2002).
188 We like a storm. Immanuel Kant, Critique of Judgment,
bk. 2, sec. 28, “Nature as Might.”
190 The order of art itself. E. M. Forster, “Art for Art’s Sake,”
from Two Cheers for Democracy (London: Edward Arnold,
193 They “resonate” with it. New York Times, Arts, May 18,
2002, 8. A few years later, the 9/11 connection could be
made more candidly. According to Jonathan Prince, the
show’s creator and one of its executiveproducers, “The
60s really began with the assassination of J. F. K, just as
shepherded Vladimir Horowitz’s return
to the stage, and for the next decade he was manager to the great pianist. In
1982, back in New York, Gelb went to work for Ronald Wilford, chairman
and CEO of Columbia Artists Management Inc. (CAMI). As he remem-
bered it, Wilford gave him “an offi ce and a salary, and said, ‘You decide what
to do and create your own job.’ And out of that, CAMI Video was born”
(Times, Nov. 6, 2004). Between 1988 and 1992, while at CAMI, Gelb was
executiveproducer of the Met’s media department with responsibility for
“Th e Metropolitan Opera
., 148. “My pitch to”: Munk, Vanity
422 • No t e s t o c h a p t e r e l e v e n
2. “access was more”: Mead, New Yorker (Oct. 22, 2007): 144. Volpe is said to
have cast a jaundiced eye on Gelb’s work at the Met from the start. In 1992, he
replaced Gelb’s executiveproducer position with a radio network producer and a
television producer: “I didn’t need an executiveproducer. Guess why? I was the
executiveproducer.” In 2006, Gelb created the position of director of media and
presentations, to which he appointed Mia Bongiovanni. “occasionally directed
motion picture soundtrack Verve Forecast, 2005.
23. Th e Great Gatsby: Music fr om Baz Luhrmann’s Film, soundtrack,
executiveproducer Jay-Z with over a dozen primary artist credits (e.g.,
Beyoncé, Fergie, Q-Tip), Interscope, 2013.
24. Koji Kondo, Super Mario Bros. Th eme (“Ground Th eme”), Nintendo,
3.34 Aft er the complete citation has been given once, a frequently cited
source may be abbreviated. Use this system in preference to the
abbreviations op. cit. and loc. cit.
16. Schumann–Brahms Briefe 1:69.
17. Kalbeck, Brahms 1:198.
the organizers of the series was
publicist Jim Eigo, who had been a devotee of loft concerts in the 1970s and obses-
sively collected fl yers and ephemera.23
In the years that followed, Eigo would also be involved in two CD releases that
paid further tribute to the loft s. In 1999, he produced the fi rst reissue of the classic
Wildfl owers recordings, documenting the Studio Rivbea Summer Festival in 1976.
Th e following year, he served as executiveproducer of a box set of recordings made
in the 1950s–60s loft of painter David X. Young.24 Th e trend of using
of the early
1930s, one abetted by advances in sound engineering and cinematogra-
phy, and operating under the vigilant eye of Joseph Breen, enforcer of
the Hays Office’s Production Code. In early 1936, the immense labor of
Porgy and Bess behind him, Gershwin contacted his agent, Arthur Lyons,
about possibly writing a film musical of his own. Hollywood was natu-
rally interested. Paramount floated the idea of a musical for Bing Crosby;
Samuel Goldwyn, one for Eddie Cantor; and RKO’s executiveproducer,
Pandro S. Berman, an adaptation of Strike Up the Band for Fred
The Newest Jazz Generation 161
with the very definition of a jazz groove, a mellow musical conversation between
Messrs. Weinstein and Person that transcends the players’ ages and styles,
achieving the joyous act of communion that has made this music an international
language. Credit for this enduring recording is due Mat Domber, the owner and
executiveproducer of Arbors Records, who not only immediately felt the need
to record Mr. Weinstein but made this twenty-year-old the producer of his first
album, in charge of choosing the musicians and the
the Impulse! label: The
Hardbop Grandpop and A Prescription for the Blues. Then Verve Records
merged with GRP, and they switched me to the Verve label. My first and
only album on Verve is Jazz Has a Sense of Humor.
Even though I didn’t have great success with Silveto and Emerald
Records, I still kept Silveto Productions Inc. When I signed up with GRP/
Impulse!, I signed as Silveto Productions to produce Horace Silver. All
the recordings I’ve done for GRP/Impulse! and Verve were produced by
Horace Silver and Silveto Productions Inc. My executiveproducer was